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Volume 8 

Number 1 


2 OO O 

Catechetical Scenes 

Ann Montanaro 
East Brunswick, NJ 

Between 1955 and 1964, the Salesian Catechetical 
Centre in Kowloon, Hong Kong, produced 1 7 pop-up 
books designed to be used to teach Roman Catholic 
doctrine. The books are a series called "Catechetical 
Scenes" and they are interesting both because of their 
text and their unusual pop-up and mechanical 
illustrations. The books are each SVa x 754 inches with 
44 pages and about 20 
double-page pop-ups 
per volume. Rev. M. 
Coerezza, S.D.B. is the 
author of series. Each 
book was issued with an 
identical illustration on 
the dust jacket showing 
an Asian man and 
woman using the pop- 
ups to teach five Asian 
children. According to 
the dust jacket, there 
were 18 volumes 
published in 6 
languages. However, 

the 18 th title, The Law of Love 4, does not appear to 
have been produced. The muted, colorful, internal 
illustrations depict didactic Biblical tales, sacraments 
of the Catholic church, morality tales, and the 
punishments resulting from wrongful acts. 

These books were teaching aids and an example 
from Confession, part 1 shows how the book was 
designed to be used. A pop-up pastoral scene shows 
cows grazing on a hillside and a bull charging a man 
holding a smoking gun. The lesson is entitled 
"Deliberate Consent." The text reads "Some cattle 
were one day grazing on pasture land. The day was 
fine, and all about was quiet and leisuresome. Two 
children were playing together over beyond the herd, 
and the herdsmen sat under the shade of a sycamore. 

"Suddenly for no apparent reason a bull ran amuck 
and bore down at a mad rush upon the children. By 
good luck one of the herdsmen was on the alert. Quick 

as thought, he whipped out a revolver and fired in 
rapid succession at the bull. The beast took the first 
bullet and rolled over, leaving a passerby exposed to 
the others. The man was hit and fell down dead. 

"Did the herdsman commit mortal sin? He certainly 
did not. He did indeed kill the man; and he knew that 
killing a man is gravely forbidden. Yet he committed 
no sin. For he did not mean to kill him. He had no 
intention to do so. Therefore, there was no deliberate 
consent at all. Without a full or deliberate consent no 
mortal sin is committed." 

The pop-up consists of three layers of stand-up 
illustrations - cows, trees, and the man - each pulled up 
by a tab adhered to the adjacent page. (The tabs are 
made from scrap paper and some have Chinese 
characters printed on the paper.) The bull, which is 
printed on a sliding tab, can be pulled from side to side 
and when the bull gets close to the man, the wounded 
bystander is visible. There are four pages of questions 
in the back of the book, and three of the five questions 
for this lesson are: "When something is not meant, is 
it a mortal sin?" "What kind of consent must there 
be?" and "If we are in doubt about a sin, whom should 
we ask?" 

Several of the early titles. Confession, part 1 and 
Confession - part 2 & Extreme Unction, and The 
Blessed Eucharist published respectively in 1956 and 
1957, have one or two string-pulled movable 
illustrations which are not found in later works. In 

Confession - 
part 2, the 
lesson on 
shows a priest 
at an altar 
absolving a 
man of his 
sins. In a 
covered, die- 
cut window on 
the page 
behind the priest the text reads "Satisfaction, 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $20.00. For more 
information contact Ann Montanaro, The Movable 
Book Society, P.O. Box 1 1654, New Brunswick, New 
Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is May 15. 

indulgences, prayers, works, these cut out Purgatory 
and open the gates of Heaven." In a similar, adjacent 
window a half dozen people are standing amid flames. 
When the string, which is attached to the text, is 
pulled, the text is moved across the page to mask the 
people and a picture of Jesus and angels is then visible 
in the window. 

In addition to pop-ups, some of these books include 
flaps that open to reveal small pop-ups, lift-the-flaps, 
and tab-operated illustrations. The pages are printed 
on stiff board but the paper used for the pop-ups is very 
lightweight. There is finely cut detail in the 
illustrations including individual fingers on the hand, 
palm fronds, tools, and weapons. 

In 1967, the Salesian Catechetical Centre published 
a 3-volume series "The Mysteries of the Rosary." The 
titles in this series are part 1 : The Joyful Mysteries; 
part 2: The Sorrowful Mysteries; and part 3: The 
Glorious Mysteries. Each volume is 13 x I8V2 inches 
with 14 pages and 6 pop-ups. Rev. M. Coerezza, 
S.D.B. is the author of this series. The illustrations in 
the books in this series are not as fine as the earlier 
series nor are the pop-ups are intricate. They, too, are 
designed as teaching aids and the pop-ups and text are 
printed parallel to the spine. 

Another book was recently identified that was 
published by the Salesian Catechetical Centre and 
authored by Fr. M. Coerezza, S.D.B. The title is The 
birth of Jesus: The adoration of the Magi. It is the 
same size as the "Mysteries of the Rosary" series and 
appears to be part of a series entitled "Illustrative 
Catechetical Scenes." This particular volume was 

published in 1964 and has a large oval printed on the 
cover with "c.13" in the center. There are just two 
large pop-ups and both the text and illustration are 
printed parallel to the spine. 

Some of these books are available in English and 
other languages from Soldiers Of Christ. A limited 
number of full sets are available. A complete set of 17 
(15 in English plus two volumes in Italian, with 
English translations pamphlets included) is $200 plus 
$3 shipping for USPS book rate in the USA. 

The condition of available books varies. All have 
working pop-ups, but some volumes are slightly 
flawed. Most books were stored in cartons, away from 
light and heat, allowing the dust jackets to retain their 
original color. But there are some that have sun fading 
on the spine or dust jacket, or that may have a scuffed, 
torn or slightly stained dust jacket, while others have 
water stains which occurred from storage in Hong 
Kong. A few have some warping. A complete set of 1 7 
books, complete with dust jackets but with the 
noticeable flaws just described is $75 plus shipping for 
USPS book rate in the USA. These sets have up to five 
books in a non-English language, with English 
translation pamphlets included. 

The large, three-volume Mysteries of the Rosary 
books are available at $ 1 00 per set plus $3 shipping for 
USPS books rate in the USA. (The Illustrative 
Catechetical Series is not available from Soldiers Of 

Shipping by book rate will take about 10 days. You 
may request shipping by Priority Mail which will take 
two to three days, but will cost $24 rather than $3. 
Write to request cost of foreign shipments. Payment is 
by check or money order in US funds; no credit cards. 

For more information, write to Soldiers Of Christ, 
Box 400, Rib Lake, WI 54470-0400. Please do not 
telephone for information about these books. Send your 
order by mail and be patient; you will hear from them. 
You may also request literature on this series by 
mailing your name and address to the above address or 
by sending an email to 

Titles in the "Catechetical Scenes" series: 

1 . God and Man 

2. Christ our Redeemer 

3. The Mother of God 

4. The Words of Jesus 

continued on page 5 

Pop-up Design - First in a Series 


Toronto, Ontario, Canada 

This is the first article in what I hope to be a series 
of articles which describe the more popular concepts of 
pop-up design. Unlike the majority of "how to" books 
on pop-ups which describe how to make a specific 
pop-up, my intent is to describe the concepts behind 
the pop-ups and how they work. Armed with the tools 
which you are about to learn, you will be able to rival 
the likes of Ron van der Meer, James Roger Diaz and 
Robert Sabuda in no time! These articles will also be 
posted on my web page 

<> for your 
reference. This article will discuss the concepts behind 
180° pop-ups. 

The Classic 180° Pop-up: 

Without a doubt, the classic 1 80° pop-up seen in the 
illustration below is the backbone of pop-up design. It 
is called a 180° pop-up because it allows the page 
spread to be fully opened. Of the 300 plus pop-up 
books in my collection very few do not contain at least 
one of these. The concept is very straightforward: 
opening the page spread pulls an image glued across 
the fold line to a standing position and folds back 
down into the page as the spread is closed. 

Centre- Fold 

Vertical Fold 
^*-^X — ^_. Pop-up Irroge 

Pa^ Spread ^^T^ 

i _^^^^t^£^^^^ ~^^» 

r " * ^ hi ~~^~^ 

j^^Q^vi Tab folded 
^^^ fonvaids 

""* folded baclavaids 

Classic 180° Pop-up 

This concept is used so frequently because of its 
inherent simplicity and versatility. Its ease of 
manufacture has also made it popular in advertising. 
Reynolds Tobacco used this type of pop-up in at least 
a half dozen magazine ads in the late 1980s promoting 
their "Camel" and "Salem" brands. 

Some of my favorite examples of this technique are 
illustrated in the final spread of The Story of the Statue 

of Liberty' and Richard Scarry 's Biggest Pop-up Book 
Ever 2 . The Statue of Liberty spread depicts Liberty 
surrounded by the steam ships and tall ships present at 
the official opening in 1886 and is beautiful in its 
simplicity because it appears to be more elaborate and 
complex than it really is. Richard Scarry's book very 
cleverly uses both sides of the pop-ups to tell the story 
thereby reducing the number of spreads from 6 to 3 
and combining the fairly simple pop-ups and 
illustrations very effectively. 

To begin an image which you would like to pop-up 
is required. This decision is yours. How to make it pop 
up will be described in the following sections. Please 
do not get lost in the descriptions. These concepts may 
appear more complex than they really are. This is due 
to the incredible versatility of this style of pop-up. I 
highly recommend choosing several of your own 
favorites and study how they work. If a picture is worth 
a thousand words, a working model is worth a 
thousand pictures. 

Basic Rules of Motion: 

There are several simple rules which govern the 
motion of the image. Most importantly, as mentioned 
above, the image must cross over the center fold of the 
base page for it to pop-up. Having said this, it stands to 
reason that a vertical fold is required on the image. 
Placement of this fold on the image is not critical, nor 
need it be located at the center of the image. The fold 
should, however, be far enough in from the image j=s 
edge to provide enough strength to pull itself up 
without over stressing the glue tabs. A minimum of 12 
to 15 mm Q/z") in width is recommended for small 
pop-ups and upwards of 25 mm (1") for larger ones. 
The "Glue Tabs" section below describes this in further 

There are two ways the image can be folded: the 
fold pointing towards the viewer or away from the 
viewer. This positioning affects how the image moves 
when the page is opened and closed. When the fold is 
towards the viewer, the image folds up and away from 
the viewer on opening and down towards the viewer on 
closing. The opposite is true when the vertical image 
fold is positioned away from the viewer. The figure 
below will help to clarify this. It illustrates the fold 
towards the viewer. For the other style the rules remain 
the same. Simply turn this page upside-down. 

Once location of the vertical fold has been set. 
image placement on the spread can be determined. The 

Centre Fold 

Positioning Angle 

fold down 


Top View of 180° Pop-up Spread 

image must be placed on the spread at some angle 
other than 90° to the center fold. I will call this the 
positioning angle. Theoretically the spread will not 
fold up if the image is positioned at right angles to the 
page fold. In practice this can be done because paper is 
flexible, however, doing so will not produce 
satisfactory results. The image fold must be aligned 
with the center fold (there are exceptions to this rule 
which may be discussed in future articles). 

It is important to place the image far enough away 
from the front of the page spread so that it doesn't 
protrude past the edges when the page is folded up. If 
the image does protrude there are three choices to 
make: move the image towards the back of the page 
(for the illustration above); reduce the size of the 
image or increase the size of the base page. Test your 
design frequently. This will help you determine the 
best position. 

"What is the optimum positioning angle?" is now 
the next question. There is no clear answer to this. Too 
small an angle will make your image look like a sliver 
from the front. An angle close to 90° will create 
folding problems when the pop-up is closed (as 
discussed earlier). And an angle over 90° reverses the 
fold-down direction. It is best to select an angle that 
suits the image you are using. For simplicity's sake, the 
positioning angle should be the same on both sides of 
the center fold. This does not have to be the case, but 
using dissimilar angles creates complexities that are 
best left alone at this time. 

All along, the image fold and the glue tabs have 
been assumed to be perpendicular to each other. A 
right angle here makes the image stand up straight 
when the spread is opened. This works well for many 
designs, but is not always desired. Naturally, there is a 
relationship between this angle which I will call the 
stand-up angle and the positioning angle. 

The figure above shows a typical pop-up image in 
its flat state. Given a fixed positioning angle, reducing 

Image Fold 


Glus Tabs 

Typical Pop-up Image shown Flat 

the stand-up angle causes the image to flatten towards 
the page. The stand-up angle should be the same on 
both sides of the image fold. Again, this is not 
essential, but reduces the complexities when you are 
learning. Try experimenting with several different 
stand-up angles. You will quickly discover how the 
relationship works. Also try changing the positioning 
angles. Remember, reducing the positioning angle with 
a fixed stand-up angle causes the image to stand up 
taller, and reducing the stand-up angle with a fixed 
positioning angle causes the image to flatten. 

Glue Tabs: 

Glue tabs are the essential link between the image 
and the base spread. They are often incorporated into 
the cut-out image (as shown above) folded backwards 
and glued down so as not to be seen. However, they 
can also be folded forwards. A forward folded glue tab 
can be used to help flow the pop-up image visually 
down onto the spread. One fine example of this is the 
boat scene in The Phantom of the Opera 1 . 

With tall, narrow images, glue tab strength is often 
a concern because of the small glue surface area. If the 
glue tabs are too small and narrow they can easily pull 
away from the spread over time or when opened to 
quickly. To resolve this, the tabs can be inserted 
through slits cut into the spread and glued down from 
the back side. This is well illustrated in my pop-up 
book Foot for Thought 4 . These slits also act as locators 
simplifying positioning during assembly. In some 
cases, glue tabs can be made from separate pieces of 
paper all together. This is the technique I often use 
when prototyping a new pop-up. 

Glue tabs are often angled on the edges to make 
them less visible or easier to slide into slits. They 
should also be cut back a short distance from the image 
fold to reduce paper bulk at the fold line. 

Multiple Images on the same Base Sheet: 

Several images can be glued to the spread to create 

much more interesting effects. All of the same rules 
apply, but there are some hitches. The positioning 
angle should be kept constant or slightly reduced from 
front to back to allow the images to nest properly. 
Images can also be positioned with image folds in both 
directions. However, care should be taken so that they 
do not interfere with each other on closing the spread. 
It is generally advised to keep shorter in the front and 
taller ones in the back. This will also keep the images 
from sticking out beyond the closed spread. Finally, 
the images can have different stand-up angles as well. 
Again, if this is not carefully considered, interference 
may occur. 

In my next article I will discuss 90°. pop-ups and 
how they can be combined with the classic 1 80° pop-up 
describe above. Suggestions for future articles are 
welcome. I encourage you to send me your comments 
via e-mail at <>. 


'. Holt, Rinehart Winston, 1986. Engineer: lb Penick 

2 . Golden Book, 1992. Engineers: Helen Balmer and 
Roger Smith 

3 . Harper & Row, 1988. Engineer: van der Meer Paper 

4 . Bovine Designs, 1998. Engineer: Ulf Stahmer 

Catechetical Scenes, continued from page 2 

5. Holy Church 

6. Grace and Baptism 

I . Confirmation 

8. The Bread of Angels 

9. The Blessed Eucharist 

1 0. Holy Mass 

I I . Confession 1 

12. Confession 2 (Extreme-Unction) 

13. Holy Orders & Matrimony 

14. Prayer 

15. The Law of Love 1 

16. The Law of Love 2 

1 7. The Law of Love 3 

Titles in "The Mysteries of the Rosary" series: 
Part I. The Joyful Mysteries 
Part II. The Sorrowful Mysteries 
Part III. The Glorious Mysteries 

Titles identified in the "Illustrative Catechetical 
Scenes" series: 

13. The Birth of Jesus: The Adoration of the 


How I met Attilio Mussino 

Giuse Longo 
Milan, Italy 

I was only seven years old when I received a gift 
from my daddy: a pop-up book called Le maschere 
animate (more or less, "The living maskers"). I was 
quite interested, excited and fascinated by this book, 
the first of this kind I had ever seen, to the extent 
that I never separated from it. 

This book introduced me to a magic world. It was 
like these living figurines would move around me to 
speak with me and tell me their stories. I used to 
thumb continuously through the book; the characters 
were always the same, yet I believed to see new 
scenes every time. With my fantasy, I could also 
invent different stories from those which were 
actually reported in the book. 

Em still very fond of this book, because it started 
my interest for pop-up books. As the years passed, 
the collection has grown, and with it the study and 
the knowledge of the production of these books. So, I 
could appreciate the wonderful production of Lothar 
Meggendorfer, who I believe was the best illustrator 
of the 19 th century. As a matter of fact, 
Meggendorfer's books have been translated in all the 
European languages, and everywhere they have been 
very successful. 

But I would like to go back to my first book, to 
tell something more about it. As years go by, and 
competence grows and one becomes more mature, I 
developed a special admiration for its illustrator, 
Attilio Mussino, one of the top artists in this field. 

Following an agreement with the publisher 
Franceschini from Florence, Attilio Mussino 
illustrated Pinocchio in 1942, giving origin to the 
production of pop-up books in Italy. Before him, 
only translations and printings of successful books 
from other European countries had been made. Also, 
the USA used to import pop-up books produced in 
Europe; the start of the US production is due to Walt 
Disney, and took place in 1933. 

Through time, I concentrated on collecting books 
published by the Franceschini house, which 
continued to base on Mussino's work its major 
production. Other artists, though, worked for 
Franceschini, among them Fernando Baldi, who 
worked either by himself or in cooperation with 
Mussino. They both knew how to effectively 
interpret the tales they illustrated, by both the shapes 

and the colors; this made the tales seem true and 
credible. The pop-up pages, so well illustrated, take 
shape and expand the tale in an almost endless 
scenario, letting the reader get to the end like he or 
she had invented it or seen it in a dream. 

I would be quite pleased to show these books in 
the next world-wide pop-up books exhibition, next 
September. In that occasion, I'd like to also present 
some other Italian books, so that other very talented 
and innovative illustrators could be known. The 
scenes are usually simple, the characters are usually 
presented in amusing postures, with captivating 
looks; their movements are realistic, and accentuate 
their credibility, while, at the same time, displaying 
the faults and the shortcomings of human beings. 

Gimme (Twenty) Five! 

Adie C. Pena 
Makati, Philippines 

In a day or so, the dreaded Y2K bug may wreak 
havoc on our precious planet — and likewise put an 
end to, among many other delightful diversions, the 
Second Golden Age of Pop-ups. Or would the 
anticipated PC pest's damage simply be 
anti-climactic since this magical, movable era ended 
a few years ago? Perhaps. 

After doing an inventory of my recently acquired 
pop-up possessions, I would like to make an 
observation: 1999 wasn't a great year for movable 
book collectors. I don't have the numbers to back up 
that statement but if the contents in my Amazon 
shopping cart this year are any indication, then that 
might as well be an outright truth. (Fact: I ordered a 
greater number of CDs and flat books than pop-ups 
from Jeff Bezos' online outlet.) 

Since more of the same old stuff was found on 
real — and virtual! - bookstore shelves everywhere, it 
would be an easy task to name the five (5) 
must-haves of 1999. Of course, incurable collectors 
(count me in!) couldn't resist purchasing the 
"sequels" like Chuck Murphy's Bow Wow (the latest 
in his wonderful B&W series); and the "unique" 
(read: probably the first movable version) such as 
Michael Bender's All the World's a Stage and 
Andrew Baron's Hie Hobbit. After all, how many 

pop-up Shakespeare biographies and Tolkien titles 
are out there? So on with my very short list. 

Three (3) of my top 
five (5) have already been 
reviewed in Movable 
Stationery. These are 77?<? 
New York Pop-Up Book 
(Vol. 7 No. 4) by David 
Hawcock; The Elements 
of Pop-Up (Vol. 7 No. 3) 
by David A. Carter and 
James Diaz; and 77?<; 
Pop-Up Book of Phobias 
(Vol. 7 No. 3) by Matthew 

Reinhart. The first two are obvious choices while the 
third could be the subject of much debate. Why go 
for a book with, to put it mildly, an uncommon 
subject matter? Which is precisely the point. How 
many pop-up artists are willing to stray from the 
path well-taken? Not many, apparently. For every 
two dozen dinosaur pop-up books there is only one 
Pop-up Kama Sutra or Consummate Cigar Book or 
Murphy's Law or Guinness Book of World Records. 
Need I say more? 

It may be worth mentioning that, along with the 
Monet and the Norman Rockwell tie-back carousel 
books and editor Marie Salerino's NY spectacular, 
Phobias was selected as one of Entertainment 
Weekly's "Picks of the Season" this December. Two 
Christmases ago, this same mainstream magazine 
recommended Ron van der Meer's Rock Pack and 
Robert Sabuda's Cookie Count. Which brings me to 
my final two choices — the latest by Maestros van 
der Meer and Sabuda. 

The twelfth in his series of movable packs and 
kits, Ron van der Meer's The Formula One Pack 
(Van der Meer Publishing, distributed in the UK by 
Tango Books, ISBN: 1-9024-13156) is absolutely 
awesome; while Robert Sabuda's thirteenth venture 
as a paper engineer, The Movable Mother Goose 
(Little Simon, ISBN: 0-689-81192-6) is utterly 
inventive — skill and substance-wise. Mr. van der 
Meer consistently continues to translate "mature" 
topics (photography, art. cinema, musical theater, 
architecture, wine, etc.) into fact-laden interactive 
3-D spreads; while Mr. Sabuda keeps on 
re-inventing the old staples (the alphabet and 
counting books, Christmas, etc.) by giving them a 
different spin, figuratively and literally! To say 
anything more about their latest masterpieces would 

be stating the obvious. These two artists (along with 
some of the other names above) undoubtedly are 
keeping the pop-up flame alive. 

Frankfurt Book Fair 1999 

Theo Gielen 
The Netherlands 

(Did I say "flame"? Yes, I did - and there are 
days when one can't help ut think that we are now 
experiencing a "pop-up burnout." Which leads us 
back to the question: Is the Second Golden Age of 
Pop-Ups truly over? I hope not. Though one wishes 
that the mid-1980s 
never went away. 
Those were the times 
when we first saw The 
Facts of Life, The 
Ultimate Cocktail, The 
Royal Family, The 
Story of the Statue of 
Liberty, Sailing Ships, 
The Beatles, Ben's 
Box, and the birth of 
the National 
Geographic Action 
Book series, just to 
name a few.) 

May the year 2000, barring any of the virtual 
vermin's devastation, bring more NEW "unique" 
titles — and more OLD stories told differently. (If 
you must do something that has been done before, at 
the very least, do it better — with a fresh new twist. 
How can we forget the uninspired 1997 Elvis 
Remembered which paled in comparison to the 1985 
Elvisl A larger format AND a slipcase don't 
necessarily mean better. Nothing still beats a great 

I look forward to opening Ron's next Pack 
(will his much-awaited Magic Box ever see the light 
of day?); and I can't wait to get my hands on Robert's 
interpretation of The Wizard of Oz. Aside from 
those two titles, I hope there will be more surprises 
worth stuffing into my Y2K Amazon shopping cart. 
So to all the other pop-up book artists out there, 
please create more than five movable must-haves this 
coming year. Gimme ten. Or make that twenty-five. 
And let the Second Golden Age of Pop-Ups live on. 
Keep on popping! (12/3 1/99) 

Encouraged by the fact we met a member of the 
Movable Book Society using last year's article as a 
guide and checklist so as to be sure not to miss any 
important packager or publisher, we set ourselves 
again to write an impression of this year's book fair. 

Our visit of the fair starts in the "international" 
hall, housing publishers from all over the world, 
except for those from England and America who 
have their own hall. German publishers are so 
numerous they need two halls to be accommodated. 
Our first stop is always the stand of 
Carvajal/Colombia since every year they proudly 
present a survey of the highlights produced in the 
year since last the last Fair. Doing so we get an 
insight into what the makers think are representative 
books of their best production. We also see the books 
of the publishers who don't attend the fair and we 
know which packagers/publishers we will not have to 
look for. On display we found such collectibles as 

Ron van der Meer 
and Adam 
Cooper, Formula 
One Pack, David 
Carter and James 
Diaz, The 
Elements of Pop- 
up, Tolkien, The 
Hobbit. A 3-D 

Adventure, the 
Curious George 's 
pop-up storybook 
House and Garry Greenberg, The Pop-up Book of 
Phobias, this rather strange book picturing ten 
phobias in a beautiful though surrealistic way on no 
less than ten double spreads and having the severe 
outlook of a scientific work normally not found in a 
pop-up book. 

We here saw also a new Disney pop-up: Tarzan: 
Livre Anime Avec les Decors du Film, a carousel 
book of four scenes without any text, designed by 
Atelier Philippe Harchy, to be issued with a cassette 
with the text and music of the story (Walt Disney 
Records, WDR 341539) and apparently published 

Continued on page 12 


1 ft - Awful 

2 W - Poor 

4 ft - Good 

5 ft - Superb 

I wanted to take a moment to thank all those MBS 
members who supported me on the Boston to New 
York AIDS ride 5. It was a heck of a ride (add a 
hurricane and you know you're in for a wild ride) but 
I made it. Your contributions helped raise over 2 
million dollars for an exceptionally worthy and 
timely cause and I can't thank you enough. And for 
those of you who wanted to know if I had made any 
more of my pop-up thank-you cards I didn't. Sorry! 
If I had known I would have made more! I promise I 
will for the next ride (details in a later issue of MS, 
I'm hooked on this ride thing I tell ya, hooked!). And 
Roz, don't worry I'll catch you next time. Thanks. 

All the world's a stage - William 
Shakespeare - A pop-up biography. By 

Michael Bender. Paper Eng: Uncredited. 
Chronicle Books. 0-8118-1147-6. $14.95. 22x22cm. 
18 pgs. 5 multi-piece pops, 3 tab mechs, 10 flaps. 
Art: Sort of 'folk arty', yet realistic pen/watercolor. 
Plot: The life and works of the master. Chock full of 
information and interesting tidbits. A lively 
introduction to Elizabethan theater for young people. 
Extra points for the abundant educational value. 
Paper Eng: Simple 

Catnip. By Dawn Bentley. Ill: Krisztina 
Nagy. Paper Eng: Dennis K. Meyer. Piggy 
Toes Press. 1-581 17-033-5. $9.95 US. 
24x25cm. 10 pgs. 3 pops, 2 flap mechs, 3 flaps, 1 
plastic locket in cover. Art: Humorous, cute 
watercolor. Plot: A small cat counts all it's animal 
friends. Simple and harmless. For very young 
readers. Also: Dog Days, 1-581 17-053-x (which gets 
a 3 1/2 because it has better art, pops and humor than 

Don't do that! By Olivier Charbonnel. 

Paper Eng: Uncredited. Infinity Plus One. 

1-58260-007-4. $9.95 US, $14.95 Can. 
18x19cm. 5 spreads. 1 pop, 6 tab/flap mechs (two 
using hidden elastic bands). Art: Humorous, bright 
paintings. Plot: The consequences of teasing animals. 
Fun and simple. A very unusual pop of a turtle 
transforms into a party scene on the last spread. Paper 
Eng: Somewhat complex. 

Flip-pop colors. James R. Diaz. Piggy Toes 
Press. 1-581 17-067-x. $9.95 US. $14,956 
Can. 1 15x1 5cm. 10 pages. 10 pops. Art: 

Humorous, pen and brightly colored computer 
generated flat colors. Plot: Fun ways to learn about 
colors. Interesting concept since the pages are split 
corner to coiner on a diagonal. The triangular, 
diagonal conceals the pop-up underneath. 
For very young readers. Paper Eng: Simple. Also: 
Flip-pop counting, 1-58117-068-8. 

Guess how much I love you? A pop-up 
edition. By Sam McBratney. Ill: Anita 
Jeram. Paper Eng: Uncredited. 0-7636- 
0675-8. Candlewick Press. $17.99 US, $19.99 Can. 
21x21cm. 14 pgs. 1 large & 1 small multi-piece pop- 
ups, 8 tab mechs. Art: Beautiful, delicate pen/water- 
color. The classic tale on parental bunny love now 
moves! Surprisingly understated interpretation of the 
original with a nice combination of appropriate 
movement for the mechanisms. So why is the paper 
engineer uncredited? Paper Eng: Somewhat 

I don't want to sleep tonight. By 

"American Television Personality" Deborah 
Norville. Ill: Rachael O'Neill. Paper Eng: 
Uncredited. Golden Books. 0-307-10609-8. $12.99 
US. 24x24cm. 6 spreads. 1 large pop, 1 tab mech, 20 
flaps. Art: Poorly executed pastels. Plot: Things that 
go bump in the night. Poetry isn't that bad, but the art 
drags things down. For very young readers. Paper 
Eng: Very simple. 

The not so itsy-bitsy spider. By Dawn 
Bentley. Ill: Yumi Heo. Paper Eng: Dennis 
Meyer & Jose Seminario. Piggy Toes Press. 
1-58117-051-3. $12.95 US, $19.95 Can. 21x18cm. 6 
spreads. 4 mulit-piece pops, 1 pull tab. Art: Brushy, 
almost abstract, watercolor. Plot: All the local insects 
gather for a party while trying to keep it a secret from 
a very large spider. Fun text, unusual illustrations and 
actual black fuzzy legs on the spider make this a 
treat. Paper Eng: Somewhat complex. 

Pop-up: Llibres movibles i 

tridimensionals. Fundacio Caiza de Girona. 

No ISBN. 21x30cm. 132 pgs. 2 pops, 6 flaps, 
1 wheel in cover. Art: Color photographs. Plot: This is 
the exhibition catalog for the show of pop-up books in 
Cirona, Catalunya, Spain organized by MBS member 
Quim Corominas. It is by far one of the most beautiful 
catalogs I've ever seen for an exhibition of this type. The 
photos are great and the reproductions of the movables 
(especially the one in the cover) are top notch. A must 
have for any collector. Paper Eng: Simple. The Movable 
Book Society purchased copies which are available for 
$70.00, including postage in the US. To purchase a copy 

contact Ann Montanaro at P.O. Box 1 1654, New 
Brunswick, NJ 08906, or 

^^^ The puzzled penguin. By Keith Faulkner. 
A-tvK 111: Jonathan Lambert. Paper Eng: 
■SL^" Uncredited. The Millbrook Press. 0-7613- 
1042-8. $1 1.95. 25x25cm. 7 spreads. 6 pops. Art: 
Humorous, but sumptuous, hand-painted cut collage 
paper. Plot: The team that created The wide-mouthed 
frog and The long nosed pig introduce a penguin with 
an identity crisis. Bright, big and fun. Paper Eng: 

Row your boat. By Anthony Lishak. Ill: 
Graham Percy. Paper Eng: Uncredited. DK 
Ink. 0-7894-3489-x. $14.95 US. 20x25cm. 
6 spreads. 6 multi-piece pops that are basically 
frames. 4 tab/flap mechs, 5 flaps. Art: Humorous, but 
delicately drawn colored pencil. Plot: An updated 
version of the children's song acted out by 
anthropomorphic animals. Beautiful art but maybe it 
just should have been a picture book. Paper Eng: 

The twelve bugs of Christmas. By David 
A. Carter. Little Simon. 0-689-83104-8. 
$14.95 US, $21.95 Can. 23x18cm. 12 
spreads. 1 multi-piece pop, 11 flap mechs. Art: 
Humorous, colorful computer generated illustrations. 
Plot: The classic song given the buggy treatment. A 
true holiday delight, especially the last spread. A 
great update for all Yuletide enthusiasts. Paper Eng: 

We love preschool. By Tim Warnes. Paper 
Eng: Damien Johnston. The Millbrook 
Press. 0-7613-0430-4. $9.95 US, $14.50 
Can. 23x1 7cm. 5 spreads. 1 pop, 8 tab/flap mechs, 8 
flaps. Art: Humorous, simple paintings. Plot: The 
various activities that occur during a day at pre- 
school. Sweet and cute for very young readers. Paper 
Eng: Simple. 

The wheels on the bus - a musical pop-up 
book. Design: Willabel L. Tong. Ill: 
Rosanne Litzinger. Paper Eng: Renee 
Jablow. The Millbrook Press. 0-7613-1276-5. $15.95. 
25x23cm. 10 pgs. 7 pull tabs, 2 wheels, 4 flaps, and 1 
musical chip on the cover. Art: Humorous pencil/ 
watercolor. Plot: The classic children's song about 
urban transportation. Why do we need another 
version of this after Paul O. Zelinsky's classic? But 
still a very nice interpretation. Paper Eng: Simple. 

Where's Alfie? By Matthew Price. Ill: 
Emma Chichester Clark. Paper Eng: Steve 
Augarde. Orchard Books. 0-531-30126-5. 
$9.95 US. 19x19cm. 12 pgs. 5 tab mechs, 1 flap. Art: 
Humorous pen/watercolor. Plot: A young bear hides 
from his mother to avoid going to bed. Quiet and 
delightful in a very British way. Cute without 
patronizing (which is rare these days). Paper Eng: 
Simple. Also: Don't worry, Alfie, 0-531-30127-3. 

Whiskers & kisses - a picture frame pop- 
up book. Ill: Karen Bell. Paper Eng: Rafael 
Rangel. Pop-up Press. 1-888443-13-8. $7.95 
US, $11.95 Can. 13x1 9cm. 6 spreads. 5 pops, 1 tab 
mech, 1 paper frame to insert a photo of a feline 
family member. Art: Realistic watercolor. Plot: 
Quotes about the trials and tribulations of being a cat. 
Certainly unusual since the frame attaches to the 
front and back cover of the book to create a triangular 
structure that stands up like an actual picture frame. 
Whatever. Paper Eng: Simple. 



Apriti Libro! A Review 

Theo Gielen. 
The Netherlands 

Pietro Franchi, APRITI LIBRO! 
Meccanismi, figure, tridimensionalita in libri 
Ravenna, Edizioni Essegi, 1998. 
"Parva Rara" Collezionismo No. 3. 
140 p. 225x225 cm. 
ISBN 88-7189-253-4. 
Lire 75.000 (ca. $ 45.00). 

Intrigued by the translation of a small part of this 
Italian book about "mechanisms, pictures and 
threedimensionality in books from 16th to 20th 
century ,"and generally interested in reading about the 
history of movable books, we ordered for a copy. And 
what a wonderful surprise when the book appeared on 
our doormat. 

Wondering how the 1 '/2-page translation in the 
August 1999 issue of Movable Stationery could have 
been full seven pages in the original book, the book 
itself solved this mystery at first glance. The largest 
part of the seven pages proved to contain pictures of 
the books the text, plus a facsimile of the letter of 
Lorenzo Franceschini mentioned in the text, 
advertisements for some series of movable books, etc. 
All of the sometimes rather cryptic connections within 
the text, as translated for MS, were put in context 
within the pages of the original Italian book. 

Apriti libro! (a variant of Sesame open!) is a 
great book, in the tradition of Peter Haining's well- 
known Movable Books, published some twenty years 
ago. Though smaller than Haining's book and without 
its gatefolds, Mr. Franchi's book can easily be 
compared with that 1979 British gem. Especially for 
the huge number of color pictures of movables, pop- 
ups and books with superimposed plates from - mostly 
- Mr. Franchi's private collection. This doesn't only 
include Italian books as the title might suggest, but a 
lot of English, French, and German titles. And in 
contrast to Mr. Haining's book, here all the books 
have a bibliographical description and an annotation 
of their contents, sometimes their original edition or 
other interesting things about the particular title. It 
makes the book very informative. 

After a short editorial note the pages 11-18 give a 

classification and terminology of fourteen types of 
movable and pop-up books, shortly annotated but 
illustrated with pages from mostly antique books 
using the techniques as described. The next chapter, 
pages 19-58, tells the history of movable books, 
starting about 1277 with Ars Magna Generalis by 
Ram6n Llull and ending with recent highlights as 
Pienkowski's Haunted house and the National 
Geographic Series. And again the text has been 
illustrated profusely with (black and white) pictures: 
no less than 78 pictures of front covers of the books 
in the text, but also publishers' advertisements listing 
their other movables, catchpenny prints, a children's 
magazine or the colophon of a book with interesting 
dates - all matching the history as told on these 
pages. To illustrate this chapter Mr. Franchi reserved 
pictures of the outsides of the books - mostly their 
front covers - keeping back the movable and pop-up 
contents of them for an other part of his book. 

Next over 70 pages, (59-131), give the descriptive 
list of just over one hundred and twenty titles with 
their bibliographical dates and annotations. Starting 
with a 1540 edition of Petrus Apianus, Cosmographia 
and some other early editions with volvelles and/or 
pull-tabs, the list contains over one hundred 
antiquarian books and ends with a few (8) modern 
pop-up books. And when the cover of a listed book is 
pictured in the earlier chapter, a reference to the 
corresponding page is been given. This part of the 
book is great since there are always two pages of 
descriptive text alternating with a double-page with 
beautiful color pictures of the movable or pop-up 
pages from the listed books, always done against a 
red background. Even in this part the text pages are 
often additionally pictured in black and white. But 
exactly 200 color plates illustrate in this part the 
insides of almost every listed book, often with 
pictures of movable pages in different stages of their 

The bibliography contains some 30 original 
Italian titles, mostly form the 1930s and onwards. 
There are also some 20 books as published in Italian 
language but originating abroad (e.g, Meggendorfer 
and Disney), and some fifty foreign language books 
showing highlights from the productions of Dean & 
Son, Nister, Tuck, Schreiber, Bookano, Disney, and 
others. A special part describes and pictures some 25 
technical and biological books with superimposed 


plates dating from the early years of the 20th century, 
published in Italian but originally published in other 

The book ends with three very short sections about 
the collecting of movable books, the market of 
antiquarian movables and about their restoration, and 
is completed with a two-page bibliography listing the 
most important publications on the subject as 
published in, respectively, English, German, French 
and Italian. One of the titles in this list of Italian 
references reveals the origins of this book as being the 
(rewritten?) book-publication of an 1 996 catalog that 
accompanied an exhibition of Mr. Franchi's collection 
in Calderara di Reno. Mr. Franchi, a member of the 
MBS, is an antiquarian bookseller in Bologna by 
profession and a collector, restorer and paper engineer 
by passion. The book is part three of a series called 
"Parva Rara" Collezionismo, the first two parts of the 
series dealing with religious and devotional ephemera. 

After all our praise of Mr. Franchi's book we have 
some minor remarks. But let nobody be put off by this 
and fail to buy the book! We had hoped to read the 
history of the movable and pop-up books in Italy. In 
this aspect the book succeeds only partly since it gives 
us only for the 1930s and 1940s some insight in the 
specific Italian production. We would liked to read 
more about the publishing of Italian editions of books 
originating abroad as done, for example, by Casa 
Editrice Hoepli, Editrice Vallardi, Fratelli Treves but 
also by other Italian publishing houses from the 19th 
century and after. Several Italian editions of 
Meggendorfer titles are given, but what about Nister 
and Raphael Tuck: have there been Italian editions of 
their books too? What about the Blue Ribbon books: 
have they been published in Italian as they are in 
Spanish? What about the Italian editions of the 
Schreiber Stehauf-Bilderbiicher from which are only 
given two titles, and about their publisher Casa 
Editrice Mediterranea? And did this publisher do only 
that series or did they published they other movables 
as well? How did the fascist regime of Mussolini use 
these books? Several titles and pictures suggest such a 
special interest. And the same probably can be said for 
the catholic church. Maybe it was not the intention of 
Mr. Franchi to give more than that and are we only 
formulating our reading-wishes. Nevertheless we hope 
Mr. Franchi will continue his work with some 
additional publications (in Movable Stationery!) on 
the history of movables in Italy since he gives 

evidence in his book of an extensive knowledge of the 

As so often in publications on this beloved 
category of books, the dating of the books is 
problematic, in this book too. And although 
suggesting to give definitive years of publication for 
most of the listed books, the notation at least is not 
always consequent: sometimes the year is given as 
appearing in the books where we know there isn't any 
in it; at other places the year is given in square 
brackets as usually done when the year doesn't 
appear in the book but has been reconstructed 
definitively from other sources; and sometimes are 
"circa"-years given. We had hoped for more 
information about the reliability of the given dates. 
The is especially true since some years of publication 
as given in the bibliography differ from the years 
given when describing the history in an earlier 
chapter: the Royal Moveable Punch & Judy gets 
"1881" on p.27 but has "1870" on p.70; the 
Cinematographe Album a Surprises has "1900" on 
p. 41 and "1890" on p. 91; or Hoepli's carrousels that 
get "1938" on p.45 and "1940" on p.87. 

Missing also is a clear accounting of the 
location of the enclosed books. We thought all of the 
books were in Mr. Franchi's collection; nevertheless 
we found such notes as: "reproduced from a catalog" 
(nr. 2), and "a modern reconstruction" (nr. 3). A 
couple of titles are given as not seen but found in a 
contemporaneous publishers catalog (nrs. 39-42), but 
it is unclear if this includes all the included titles. A 
relevant question since an other part of the 
bibliography (nrs. 91-102) gives 12 titles from the 
1916 catalog of the latter firm where an 
advertisement of this firm as pictured on p.51 doesn't 
give one of the 12 but does gives some others that are 
not enclosed in the bibliography. And, strangely 
enough, nr. 48 gives a title that proves to be only a 
part of the book as listed under nr. 39. 

As said, these are just minor remarks that surely 
shouldn't deter anyone from immediately ordering a 
copy of the book and from enjoying it time after time. 
It really is a great addition to the few books published 
on the subject until now: a great lay-out, beautifully 
illustrated, clearly divided into good chapters about 
various aspects of the subject, picturing first the 
outsides of the described books and later their insides. 
and giving all kinds of additional related documents. 
A must-have, even if you don't read Italian! 


mr. pop-up 


<J| Till \\ OKI I) 

Frankfurt Book Fair, continued from page 7 

only in French. They also showed the English edition 
of Francois Michel's book (published in 1998 in 
French and German): The Pop-up Atlas of the World, 
Pavillion Books, London, 1-8620-5299-9, also as A 
Guided Tour of the World, Press Elan, Toronto, 1 - 
55144-234-5. Nice and innovative, we thought, 
Amazing Machines: A 
Workshop Full of Bits for 
Every Wacky Plea! 
Scholastic, 0-590-51569-1, 
storing thirty-two parts such 
as wheels, power shovels and 
hole diggers that snap in 
position to create great 
working machines to enable 
the young mechanics to create 
power shovels, moon vehicles, 
robots and submarines, but also all kinds of fabulous 
and outlandish machines by mixing the play pieces. 
The grommets that hold the pieces in position allow 
the parts to rotate in an articulated fashion! Finally, 
we admired Max's Machines: The Best Pop-up Book 
Ever, with paper engineering by Willy Bullock 
(Scholastic, London, 0-590-54264-8) bringing three 
robust machines popping up from the folds of the 
pages, one of them a great plane with a working 
ejector seat. 

In a talk with Mr. Julio C. Monroy, the general 
manager of Cargraphics, one of the divisions of 
Carvajal, we learned it was their 25th year of 
producing pop-up books in Colombia. He told us that 
the competition of new media and also the of low 
labor rates in south east Asia, especially China, cause 
substantial rivalry, resulting in a reduction of the 
number of titles they produce annually. Three years 
ago Carvajal moved their production lines to 
neighboring Ecuador, both 
reducing the costs and creating 
a better possibility to export 
the books by ship from the 
Ecuadorean harbors. He 
showed us how, for example, 
Keith Moseley's Anne of ' 
Green Gables, a book with a 
nice paper sculpture in the 
front of the book and 
published by Key Porter Books 
(1-55263-060-4) already has the imprint: "Printed in 
Colombia and hand assembled in Ecuador." Mr. 

Monroy said the more complex paper artwork is still 
always done by Carvajal since others, especially 
China, lack the expertise to do it. New for us was 
hearing that Disney made a video of the production of 
Robert Sabuda's ABC Disney, to promote the book. 
Has anybody seen this? 

It was most interesting, however, to see new 
movable, pop-up and novelty books in the large hall 
where the British and American publishers have their 
stands. And although everywhere could be heard that 
the pop-up market stagnates, particularly for the more 
elaborate, expensive books, there could be seen here a 
lot of good new products the packagers will try to 
bring out in the coming year. Due to the withdrawal 
of such big firms as Random House, Disney, P/S/S 
and Reed Children's books from the pop-up market 
during last years, this market has problems and the 
packagers admitted it now openly. The phenomenon 
is not new; we wrote about it already some years ago 
- not always to the pleasure of everybody involved. 
As a result, several of the companies that had 
operated as mere packagers before, have founded 
their own publisher's imprints (e.g., Tango Books, 
Pop-Up Press, Piggy Toes Press, Van der Meer 
Publishing) or organized their own distribution 
through local publishers in various countries. As a 
direct consequence of this policy Van der Meer 
Publishing didn't even have their own stand this 
year, where they have been present in such a 
promotional way in previous years. As described in 
the article about them in the May 1999 issue of the 
Movable Stationery, the firm has become a 
publishing house to bring out the books by Ron by 
themselves - no longer selling the rights to other 
publishers. And, since the Frankfurt Book Fair is a 
rights fair, it is understandable they no longer attend. 
The books they have just published, and a glimpse of 
what the year to come will bring could be seen at the 
stand of their British distributors. Tango Books/Sadie 
Fields, where Ron was also present for a couple of 

Just ready was Ron's Formula One Pack and 
A nimals in Love: A Three-dimensional Tour of the 
Very Private Lives of Animals: Adults Only. (1- 
902413-34-2) illustrated by Michel Bridenne and 
paper engineered by Ron himself with Nghiem Ta. 
Several other projects, last year announced for 
publication in 1999. were postponed: Uri Geller and 
Ron van der Meer, Para Science Pack: A Stunning 


3-D Interactive Journey Through the Paranormal, and 
also Understanding Drugs. The later book doesn't 
have any pop-ups, only movables, but it shows a 
technique we have never seen before: kind of a rattle- 
technique in paper that with every movement shows 
an other page of the book. 

From their new projects we saw the dummies of 
The Busyman's Cook Pack: Twenty No Fail Three 
Course Meals for Two by Ron and the popular BBC- 
television cook Gary Rhodes. It is a trendy cookbook 
with a pop-up grater, a pop-up piece of cheese and a 
movable picture of Mr. Rhodes' special hairdress in 
the front cover. The Village Garage will be a three- 
department fold-out pop-up in the tradition of the 
earlier Market Day or Orchard Farm, using now a 
rather small format which will be standard for Van 
der Meer's children's publications in the future. Ron's 
brother Guus, told us the Mathmaster series will be 
followed by three parts of a Sciencemaster series, 
again for the 3+, 5+ and 7+. Talking with Guus about 
the decreasing market he frankly admitted it and also 
thought it was caused by "too much of the same" and 
was thinking of more innovation in the field for 

He showed us the new book by Keith Moseley, A 
Busy Day for Santa, with its beautiful paper sculpture 
built in the front cover and visible behind an acetate 
window; and he pointed out the security they now 
build in each copy of their books: a non-removable 
hologram sticker showing the well-known pointed red 
shoes of Ron, as a hallmark to prevent illegal copies 
that apparently sometimes come to the market. 

Sadie Fields/Tango Books had the new Pete 
Bowman Little Owl's Christmas (1-85707-432-7), a 
pop-up book with press-out clothes and a removable 
mini-playhouse; a new Emma Damon title The Moon 
and Alice Beazley (1-85707-442-4), a shaped book 
with flaps, die-cut windows and foils, and a glow-in- 
the-dark press-out mobile; and a great Witch Zelda's 
Birthday Cake (1-85707-406-8) by the young Bulgaria 
born Eva Tatcheva. It is a pumpkin-shaped pop-up 
book with seven spreads, added foil and string, and 
movements by pull-tabs and wheels, his same 
Tatcheva will have a sequel next year: Witch Zelda s 
Christmas. Next spring will be published Abby 
Irvine's, Dougie Duck Can 't Swim, a pop-up variation 
of Andersen's Ugly Duckling, to come with a badge. 
Also in the spring: Harriet Griffey, Ruby the Ballet 
Star and Maureen Roffey's pop-up interpretation of 

Old MacDonald; and Jonathan Allen, Don 't Wake 
the Baby (1-85707-449-1). It has a different noise on 
every spread made by pulling a tab: a father caring 
for his baby one evening, falls asleep himself, and 
wakes up at every little noise of a cat, a cuckoo clock, 
breaking dishes, etc. It is kind of a sequel to Allen's 
earlier Wake up Sleeping Beauty. 

At the stand of Ottenheimer we saw some very 
nice pop-up books that suggested that the firm will 
again be in the market as a packager with highly 
collectable pop-ups, after the failure of their earlier 
attempt with the quality imprint Wild Honey whose 
great dummies hardly ever have reached the status of 
a published book. 

Now they showed a pop-up by Keith Moseley: The 
Bible Alphabet, published by Broadman & Holman, 
Nashville (0-80541-288-3) with eight flaps on every 
double spread hiding beautiful pop-ups in blanks. 
From the same publisher and with a same design of 
blank pop-ups behind flaps - reminiscent of Robert 
Sabuda's work! - also The First Noel: A Holiday 
Pop-up Book, illustrated by Pat Paris and paper 
engineered by Evan Mack and Andrew Murphy. On 
display also were two books inspired by Kubasta's 
Panascopic Models series, with one huge pop-up 
within a cover: All Aboard the Ark: A Giant Pop-up 
Book by Dudley Moseley, published by Concordia 
Publ. House, St. Louis (0-570-05588-4), and The 
First Christmas: Giant Pop-up Nativity and Lift-the- 
flap Advent Calendar, by Stuart Moseley and Sarah 
Smith, published by Broadman & Holman (0- 
80542034-7), showing respectively a pop-up ark and 
a pop-up nativity (though looking more like a 
gingerbread-house). It is not known to us how far 
family ties are involved for the Moseley's and 

Random House continues the Kate Patty and 
Jennie Maizels cooperation with The Magnificent 
Music Book, published by Bodley Head (0-370- 
32377-7) and as The Amazing Pop-up Music Book by 
Dutton (0-525-46160-4), and showed the dummy of 
another sequel: The Wonderful World Book to come 
in 2000. 

Around the corner, in a next row, Simon and 
Schuster/Little Simon proudly presented the new 
Robert Sabuda The Movable Mother Goose: A 
Classic Collectible Pop-up (0-689-81192-6). 


unfortunately here in a rather misfolded copy; and the 
new Chuck Murphy Bow Wow: A Pop-up Book of 
Shapes (0-689-82265-0) from his series of square 
books with the black and white covers. Of course the 
great David Carter and James Diaz must-have for any 
collector of pop-up books: The Elements of Pop-up; 
the new David Carter titles The 12 Bugs of Christmas 
(0-689-83104-8) and Giggle Bugs: A Lift-and-laugh 
Book (0-689-81859-9). They also had a great dummy 
of David Carter's adaptation of The Nutcracker, quite 
different from what we have known from him until 
now. To come next year. 

A nice surprise 
awaited us in the stand 
of Workman 
Publishing, New York, 
where the magician and 
game designer Mark 
Setteducati himself 
demonstrated his first 
movable/pop-up book: 
The Magic Show: 12 
Awe-inspiring Tricks: Dazzle Yourself. Dazzle Your 
Friends! (0-761 1-1595-1), paper engineered by Anne 
Benkovitz consulted by Tor Lokvig. The book has ten 
double spreads that became really magic under the fast 
fingers of the magician who designed them. The 
demonstration grew quickly into a friendly contest 
with the magician demonstrating and challenging us 
to clear which paper techniques/tricks were used for 
the subsequent spreads. We had a nice talk with the 
maker who showed us all kinds of details in the 
illustrations that give you the illusion of getting into 
the magician's mind. A subtle use of doors gives the 
idea of going through a house of magic, and cross- 
references to the book with magic tricks published the 
year before by his friend and colleague magician Ivan 
Moscovich, The Think Tank. It is a great book, 
reusable also when your audience knows all the tricks 
since an envelope at the end has a second set of props 
to make several of the tricks new again! Be sure to get 
a copy for the mere $18.95 asked for it. 

When exchanging adresses at the end of our 
playing hour Mr. Setteducati puzzled us once more 
since his card looked like a magic trick too. It is a flat 
black box, that, when opened to read the name, adress 
etc. are seen in the built-in mirror. 

Bellew Publishing from London had, of 
course, their The New York Pop-up Book. In the 
December issue of Movable Stationery it was already 
enthusiastically praised by Mrs. Ellen G.K. Rubin. It 
was also at the fair on display at Rizzoli's and at the 
stand of The Metropolitan Museum of Art. However 
we thought we had a lot to do to have an impression 
of all there is in the book! A new trend to avoid 
complex constructions and/or too many glue-points? 
Bellew also had Monet's House at Giverny: With 
Fold-out Garden (1-85725-142-3 or for the Rizzoli 
edition: 0-7893-0238-3) by Bob Hersey; and by the 
same: Norman Rockwell: A Pop-up Art Experience 
(1-85725-147-4; Rizzoli: 0-7893-0366-3), both 
sequels to the earlier Van Gogh's House and to be 
followed next year by Elvis Presley 's Graceland for 
which we saw the dummy. Plans for other parts 
include the painters Gainsborough, Constable and 
Peter Paul Rubens. Just published was Leonardo 's 
Studio. A Pop-up Portfolio (1-85725-145-8) by Mira 
Kliger, a two-story 3-D evocation of the artist's life 
and works. The pop-up building comes accompanied 
by two informative booklets about the many talents of 
this Renaissance artist who is said to have been a 
"homo universalis." 

Electric Paper showed a new series of four 
informative books on animals, each with a 
naturalistic pop-up of the animal described: a lizard, 
a monkey, a frog and a woodpecker. The last one was 
particularly great and we cannot remember having 
seen a pop-up woodpecker in any book before. 

And Brainwaves again had a whole bunch of 
novelty, movable and pop-up books done by Keith 
Faulkner. Amongst them The Dust Fairy (0-439- 
10804-7) and The Dawn Fairy (0-439-10805-5) 
published by Cartwheel Books, and both with fairies 
loosely laid in the frontcovers that balance magically 
on the tip of a finger; and Web Willy in Cyberspace: 
A Virtual Vision 3-D Adventure, with a do-it-yourself 
"Free Cvber Mask" inside. 

Running Press 

presented the just 
published Tlie Civil 
War: A New View in 
Close-up 3-D (0-7624- 
0614-3) by Marc Frey. 
And Chronicle Books 
has finally published 


Michael Bender's, All the world's a stage: A pop-up 
biography of William Shakespeare (0-81 18-1 147-6) of 
which we had already seen the dummy in 1995. 

Breslich & Foss announced two pop-up books 
paper-engineered by Corina Fletcher: The Music Pop- 
up: First Pop Up and Learn, an introduction to 
musical instruments with illustrations by Jan Lewis, 
and a lovely Ghoul School illustrated by David 
Roberts, revealing in five interactive spreads the 
secrets of what goes on in a school for ghosts. The 
only book an aspiring young spook will ever need! B 
& F will also bring Amazing Interactive Mazes: 
Brain-teasing Puzzles for Kids of all Ages by Adrian 
Fisher, including die-cut, page-turning mazes, slide- 
out convertible mazes and 3-D mazes as well as mazes 
which challenge with disappearing paths. 

One of our favorite paper engineers remains Steve 
Augarde who only does books for very young children 
with simple paper artwork, but so sophisticated and 
innovative! This year, his packager, Matthew Price 
Ltd, showed a new series of four booklets: Little Red 
Car Stories, to come in 2000; and the two recently- 
published books When I Grow Up ... in which a little 
boy dreams of what he might be when he grows up: 
bus driver or astronaut, submarine commander or big 
crane operator. And Here Comes the Lifeboat (Orion, 
1-8588-1635-1) with the technique that puzzled us 
last year. 

Hawcock Books, firm of an another well- 
known paper-engineer, David Hawcock, and his wife 
had The Life-size Pop-up Alien Book (Madcap, 0-233- 
99686-9 and Golden Books 0-307-33203-9), a fold-out 
pop-up poster in the tradition of his earlier Dracula 
Spectacular or last year's Amazing Pop-up 3-D Time 
Scape. It will be followed next year by The Life-size 
Pop-up Mummy in a Book that unfolds in 
Tutankhamun's mummy and its mummy case with the 
well-known golden mask. They also showed a dummy 
of The Incredible Wearable Animal Mask Book with 
four complete masks popping up from between the 
pages and ready to take out and wear, a parallel to The 
Metropolitan Museum of Arts Masks published in 
1997. The Pop-up Chess Learn and Play Set will have 
a built-in chessboard folding down with the pieces to 
play the game. But the most wonderful of his books is 
his recreation in paper of the Amazing Dome Pop-up 
Book (Dorling Kindersley, 0-7513-5146-6) in which 
the London Millennium Dome built in Greenwich to 

celebrate the new millennium, unfolds as a 
panascopic model. A gem for any collection and a 
beautiful souvenir of the year 2000 that will prove to 
be a collector's item. 

And, of course, we visited Interv isual Books 
Inc. to have a long talk with Mr. Waldo Hunt about 
"the state of the nation," i.e., the pop-up market. He 
also confirmed the market is very difficult for the 
more elaborate and expensive pop-up books. 
Nevertheless, he had a better fair than last year's and 
showed us the figures of this year's orders to prove it. 
Nevertheless, Intervisual nowadays concentrates 
clearly on the inexpensive and simple books, often 
board books with touch and feelies, foils or simple 
movements appropriate for the general market of 
toyshops, department stores and such. And, although 
their fair catalog lists fifty-five items, there are just a 
few that collectors will find of interest. Paul 
Stickland, The Christmas Express (1-581 1-7048-3), a 
holiday playset with a wind-up toy train and playing 
the "Jingle bells" tune, in the tradition of Choo Choo 
Charlie, Fire Engine Freddie and The Big Race. 
They also have the new informative pack of The 
Heroes of Space (1-5811-7054-8) in the tradition of 
the 'Elvis-pack' or the Harley Davidson book. To 
come in 2000 is a new sequel: The National Hockey 
League: A Three-dimensional History of the World's 
Fastest Game, celebrating the 80-year history of the 
League. And in the same size, The Wizard of Oz, 
written by Jay Scarfone and William Stillman, that 
will bring the favorite scenes of the film on its five 
spreads: the Twister, Munchkin Land, Haunted 
Forest, Witch's Castle and Emerald City. It also has a 
sound chip playing the classic songs "Somewhere 
over the Rainbow" and "Follow the Yellow Brick 
Road." To play it safe, Intervisual is also bringing 
out reprints of Ron and Atie van der Meer's, Amazing 
Animal Senses and Your Amazing Senses; the well- 
known "Giant Looks at Little Bugs," Beetle and 
Spider published years ago by Stewart, Tabori & 
Chang; the classic Tasha Tudor 's Christmas Village: 
A 3-D Advent Calendar and her Book of Christmas. 
A remake of The Honeybee and the Robber by Eric 
Carle will have the same contents as the earlier 
editions but a new, movable cover using the 
technique used in the front cover of The Genius of 
Lothar Meggendorfer (1985). But we also liked also a 
rather simple but innovative What Makes a Rainbow 
by Ann Schwartz and illustrated by Dora Turner, a 
book adding a different colored ribbon with the turn 


of each page resulting in a nice rainbow pop-up spread 
at the end incorporating all the ribbons. 

To come also in the year 2000 will be Mr. Hunt's 
80th birthday! He is still going strong and rejecting 
any suggestions of retiring. On the contrary, he is still 
coaching young talents with much pleasure and giving 
them the opportunity to publish; recently for example 
the young Hungarian illustrators and paper engineers 
Krisztina Nagy whose third part of her Touch and 
Learn series Christmas Bear comes next year; or 
Laszlo Batki who will bring a new project for 
Intervisual at the next Bologna fair. 

Mr. Batki attended the fair and we met him at 
Mr. Hunt's showing his new pop-up book published 
only in German: Der Rattenfanger von Hameln with 
text by Arnica Esterl and published by Schreiber from 
Esslingen (3-480-20262-4). It tells the story of the 
Pied Piper of Hamelin but with a twist: through a 
beehive-shaped lift in the last spread we can have a 
look in the mountain where the piper brings the 

Finally we arrived 
in the German halls 
and can list some 
more books only seen 
only published in 
German. At 
Ravensburger was 
the new book of the 
Czech grand old lady 
Kveta Pacovska 
Rotrothorn, (3-473-33771-4) about a red rhinoceros, 
but about so much more. "Hardly a book anymore but 
more of a house to live in with mirror foil and die-cuts 
that open a complete view in different livings, lobbies 
and siderooms, done in her favorite red sometimes 
starkened by a contrasting green" as the review by a 
german authority in the field reads. A highlighting 
artist's book for the general market, to come in a 
slipcase. A must indeed. 

The publishing house of Coppenrath from 
Munster had a new series of six mini-carousel books 
(75x50 mm) to label your Christmas presents. Karin 
Blume, Christina Thran and Christian Kampf did 
each the illustrations for two of them: Die 
Engelwerkstatt (Angels workshop, 3-8157-1856-2), 
Die Weihnachtsgeschichte (The First Christmas, 3- 

8157-1855-4), Die 
Bescherung (Christmas 
gifts, 3-8157-1857-0), 
Baren Weihnacht 
(Christmas of the 
Bears, 3-8157-1858-9), 
Winterwald (Winter 
forest, 3-8157-1859-7) 
and Weihnachtsmarkt 
(Christmas fair, 3- 
8157-1860-0). It is a 
desirable set for lovers of miniature books. 

The Munich-based Ars Edition brings an 
innovative Labyrinthe der Dritten Dimension 
(Labyrinth of the third dimension, 3-760-1290-8) that 
has a great pop-up or 3-D effect on each double 
spread showing the way through the labyrinths: an 
expedition in the pyramids, a medieval knight scene 
to unravel an hostile castle, an astronaut's adventure 
on an unknown planet, etc. And the Konemann 
publishers from Cologne - having for sure the most 
remarkable catalog, a heavy clothbound coffee table 
book of hundreds of pages all beautifully pictured - 
will bring next autumn the marvelous Exploring 
Space: A Pop-up Book, in no less than ten different 
European languages (English included) It has 
wonderful paper artwork on four big and five small 
pop-up spreads by Anton Radevsky - whose great 
dummy of the unpublished The World of Architecture 
we praised last year. The book will overshadow lots 
of other pop-up books already published on the 
subject. Konemann also brings Keith Moseley's The 
Victorian House Book (3-8290-2528-9) and The 
Mediaeval Nativity (3-8290-25 19-X) paper 
engineered by Mark Hiner, opening in one large 
(392x630 mm!) spread with a manger scene designed 
after three famous paintings from the 15th and 16th 

Antje von Stemm, known from her White Heat 
books Nightmare Hotel and Nightmare Cafe, now 
comes with a do-it-yourself book from Rowohlt: 
Fraulein Pop und Mrs. Up (The young lady Pop and 
Mrs. Up, in the series RoRoRo Rotfuchs) with a 
subtitle that reads "their big tour through paper- 

Thinking of do-it-yourselves, we are reminded of 
the presence of two British firms specializing in 
movable paper toys or so called "automata." The first 


one is Flying Pig from Maryport in Cumbria that 
showed their first six animated models to cut out and 
make yourself: Surfin ' the Web, Mexican Peck, Flying 
Pig, Ruminations, Impatience on the Impatient 
Outpatient and Exercising Fool. Great fun once you 
succeed in gluing them together in the appropriate 
way. Four of them have also been published in book- 
form from Tarquin Publications as Paper Automata 
(1-8996- 182 1-X). They announced a new range of 
Snap Ups, animals such as a frog and a butterfly 
animated by an elastic band to make them jump up. 
The publisher has a great website (www.flying- where the models can be seen moving. 

The other firm was Arcturus Publishing Ltd. 

from London that showed their first eight products for 
which they were trying to sell the rights. They had 
rather big, wonderful models that excelled by their 
eccentric and sometimes morbid sense of humor and 
caught the viewer's attention when they were on the 
move driven by a small electro-motor. All eight 
models were advertised as "An easy-to-assemble 
moving model" and had such titles as Tower Bridge, 
The Sculptor, The Executioner, Tippoo's Tiger, 
Playing the Mammoth, Harvesting Mammoth Lemons, 
The Guillotine and Ancient Egyptian Scales of 
Justice. Great fun for sure for those infected by their 
pop-up books and wanting to assemble some paper 
artwork themselves. An idea for a workshop during 
the September 2000 conference of the Movable Book 

Being sure not to have listed here everything that 
could be of interest for the readers of the Movable 
stationery, we, nevertheless, hope to have given you 
some valuable information of the movable, novelty 
and pop-up books that you can look forward to in the 
year 2000. For us, even the days in Frankfurt were too 
short to see everything we wanted to and to talk to 
everybody we had on our list. We are certain there 
could also be written a nice and informative article 
about the artists' books with movable and/or pop-up 
parts seen in the hall with the art books or at the 
stands of different galleries dealing in single copies, 
but that is not our speciality. 

Questions and Answers 

Q. Since I also collect Robert Sabuda's "flat" 
books, I immensely enjoyed his two-part (MS Vol. 7 
Nos. 3 and 4) interview by Barbara Valenta. Aside 
from his inventive and innovative pop-ups, I likewise 
appreciate his "non-movable" art - from his simple 
pencil drawings (e.g. A Tree Place, 1994) to his 
intricate (try "labor-intensive"!) illustrations, e.g. 
multi-colored handcut linoleum block prints (The 
Wishing Well, 1988), mosaics (Saint Valentine, 1992) 
and stained glass (Arthur and the Sword, 1995) — not 
to mention his thematically-texrured work with 
handmade materials, e.g. Egyptian papyrus 
(Tutankhamen's Gift, 1994) and Japanese 
Sugikawashi paper (The Paper Dragon, 1997). It was 
a pleasant surprise for him to admit — nothing to be 
ashamed of, Robert! ~ that "right after I got out of 
college I illustrated coloring books to make money." 
Of course, as a rabid Robert collector, I would like to 
see (and own!) some of these "earlier works." Any 
information (title, year, publisher, etc.) on the 
coloring books he illustrated would be much 

By the way, a Sabuda pop-up title was omitted 
from his bibliography. Using the pseudonym 
(nom-de-pop?) "Thomas Beach," Robert wrote, 
illustrated and paper-engineered the 1994 Troll title 
Creepy, Crawly Halloween Fright (ISBN: 
0816733953). I would assume that the surname is 
from his grandmother Joyce E. Beach-Huebner (as 
per his dedication on Saint Valentine) and his great 
uncle Winston F. Beach (The Paper Dragon). But 
who is (was?) "Thomas"? 

Adie C. Pena 
Makati, Philippines 

A. The impression in the article on Mr. Carroll 
[November, 1999] is that he taught divinity. In fact, 
he was a lecturer in mathematics although he never 
received a doctorate. He had strange sleeping habits, 
actually was an insomniac and wrote some puzzle 
books called "pillow puzzles." He also wrote on 
symbolic logic. Dover reprinted several of his books 
some years back (well a lot of years back). Being a 
mathematician myself I have those reprints. In the 
mid 50s and early 60s Scientific American has some 



stories about him (Martin Gardner and others). I 
thought I recalled that he had a good chair in 
mathematics (The Isaac Newton Chair) but I could not 
verify that and did not want to spend too much time 
trying to. 

Strange also was the omission of the wonderful, 
and fairy new pop-up of a few years ago. 

Is it our imagination (my wife's and mine) that 
there are fewer new pop-ups being produced? 
Morton Hirschberg 
Bel Air, Maryland 

A. STAR-GAZING: Ann Montanaro asked 

Movable Stationery readers to identify the 24 
celebrities at the rock 'n' roll king's August 1969 
Vegas concert featured on the 1985 Bonanza Elvis 
pop-up book's final spread. Well, the guys at my shop 
had fun with this one. (Needless to say, I had to scotch 
tape the soundchip's button after a few minutes — one 
can only have so much of "Love Me Tender" 
incessantly buzzing in the background! *grin*) So 
here goes, starting from the upper lefthand corner: 
Shirley Bassey and Tony Bennett. Second row (from 
the top): Jane Fonda, Tom Jones, Jacqueline Kennedy 
and Liberace. Front row (from the top): Elizabeth 
Taylor, David Niven (?), Shelley Winters, Frank 
Sinatra, Nancy Sinatra (she's beside her dad, right?) 
and Raquel Welch. Front row (right hand page, from 
the top): Sally Field, Dean Martin, Ann-Margret, 
Richard M. Nixon, Bette Midler and Diana Ross. 
Second row (from the top): Barbra Streisand, Sammy 
Davis Jr., Liza Minnelli and Jerry Lee "Great Balls of 
Fire" Lewis. Back row: Roy Orbison of "Pretty 
Woman" fame in his trademark shades. And, finally, 
the cigar-smoking man with the one-armed bandit: 
Bob Newhart (or Alan King?). 

Can someone better this list? 

Adie C. Pena 

Catalogs Received 

Aleph-Bet Books. Catalogue 62. 218 Waters Edge, 
Valley Cottage, NY 10989. Phone: 914-268-7410. 
Fax: 914-268-5942. 

3 9088 01629 2906 

Thomas and Mary Jo Barron. Catalogue 7. 120 
Lismore Ave., Glenside, PA 19038. Phone: 215-572- 

Books of the Ages. Gary J. Overmann. Catalogue 22. 
Maple Ridge Manor. 4764 Silverwood Dr., Batavia, 
Ohio 45103. Phone: 513-732-3456. 
Drusilla's Books. Catalog 7. P.O. Box 16, 
Lutherville, MD 21094-0016. 

Page Books. Catalog 12. 117 Danville Pike, 
Hillsboro, OH 45133. Phone: 937-840-0991. Email: 
pagebooks@aol . com 

Jo Ann Reisler, Ltd. Catalogue 50. 360 Glyndon St., 
NE, Vienna VA. Phone:703-938-2967. Fax: 703- 
www.clarke. net/pub/reisler 

Ten Eyck Books. Catalogue 13. P.O. Box 84. 
Southboro, MA 01772. Phone: 508-481-3571. Fax: 
508-490-9954. Email: 

New Publications 

The following titles have been identified from 
pre-publication publicity, publisher's catalogs, or 
advertising. All titles include pop-ups unless 
otherwise identified. 

Curious George 's Pop-up Storybook House. 
Houghton Mifflin. $20.00. 0-395-97908-0. 

Patch and the Rabbits. [Tabs] Orchard Books. 
March. 6Vs x 6 1 /a. 12 pages. $5.95. 0-531-30265-2. 
Also: Patch Finds a Friend. 0-531-30264-4. 

A Piece of Cake: A Delectable Pop-up Booh. By 
David Pelham. Handprint Books. May. 6x5x3% 
inches. 12 spreads. $12.95. 1-929766-01-7. 

Ready, Set, Go! Chronicle Books. April. 5 x 5inches. 
One pop-up. $6.95. 0-81 18-2601-5. 

Truck Jam. By Paul Stickland. Ragged Bears. May. 
1 1 x 8% inches. 7 spreads. $16.95. 1-929766-01-7. 

New publishers' addresses: Handprint Books and 
Ragged Bears, 413 Sixth Ave., Brooklyn, New York